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The "Fill Opacity Eight"

From: Photoshop CS5 One-on-One: Mastery

Video: The "Fill Opacity Eight"

In this exercise I'm going to introduce you to the mysterious topic of the Fill Opacity 8. Basically, there are 8 blend modes that are affected differently by Fill Opacity than by the opacity value. I'm not sure why it works, I don't know what the underlying math is like, but I do know it's the case and it's actually a boon, because Fill Opacity works great with these eight blend modes as you're about to discover. First of all let me remind you what Fill Opacity is. So I have opened the original version of the Paper pushers image.

The "Fill Opacity Eight"

In this exercise I'm going to introduce you to the mysterious topic of the Fill Opacity 8. Basically, there are 8 blend modes that are affected differently by Fill Opacity than by the opacity value. I'm not sure why it works, I don't know what the underlying math is like, but I do know it's the case and it's actually a boon, because Fill Opacity works great with these eight blend modes as you're about to discover. First of all let me remind you what Fill Opacity is. So I have opened the original version of the Paper pushers image.

It doesn't contain the lightbulb, but that's okay because I'm not working for that client anymore. But I'm going to change wrestlers layer to let's say just Multiply for the sake of demonstration right now. So I'll press Shift+Alt+M or Shift+Option+M on the Mac for that wrestlers layer. Then I'm going to twirl open the text elements group and you'll see that there are two layers here called border and Works on Paper. Turn on Works on Paper, that's the text that goes along with this composition and then turn on border. Now border it is a vector-based rectangle with a Stroke effect assigned to it and the rectangle is set to black, so we can't see through the rectangle in order to see the text below.

Now if I were to select the rectangle to make it active, there's no way to say, hey, don't give me a Fill Color. If you double-click on this Fill Color right there, you'll bring up the color picker dialog box. There are no transparency options here. So you cancel out and you might decide you're going to change the opacity value, but if you do that as you reduce the opacity value of the rectangle you also reduce the opacity of the stroke. So that's no good. That's a nonstarter. Instead what you do is you drop down to this option here Fill and you change its Opacity to 0% and then you drop out the color, you make it transparent and you keep the Stroke.

So the Stroke survives. That's the basics of Fill Opacity and that's why it exists in the first place. Now I will tell you by the way that you can adjust the Fill Opacity from the keyboard. So you just add the Shift key. So Shift+0 is going to change your Fill Opacity to 100%, Shift+5 is going to change it to 50% and so on. You can press Shift+01 to change the Fill Opacity to 1%, but that's not quite 0%. If you want 0, you have to enter it manually or click that arrowhead and adjust the slider. Or of course, you can scrub the value as well.

So a variety of different ways to work. You just can't get to it from the keyboard. So that's what Fill Opacity is supposed to do. However, as I say it has a special effect on 8 and only 8, of the 27 blend modes. So check that out let's switch over to mode-specific shortcuts.psd, another image that we've already seen inside of the 28_blending folder. This is the one that shows you all the shortcuts for the various blend modes, but there is a top-secret group right there at the top of Layers panel. Twirl it open and you'll see there in a layer called Fill Opacity.

Go ahead and turn it on and that highlights the Fill Opacity 8. So it's your very emphatic darkening and lightening and contrast effects. They include Color Burn and Linear Burn, Color Dodge and Linear Dodge and if I scroll down the list here you'll see the two contrast modes that are based on those Burn and Dodge modes Vivid Light and Linear Light. Then we've got Hard Mix. So Fill Opacity takes Hard Mix which by itself is pretty useless and turns it into a functioning effect and then Difference.

Now I don't know why this works the way it does. Some of these blend modes have fairly elaborate equations associated with them and others are extremely simple like Linear Dodge is just A plus B. So what in the world is going on there that Fill Opacity would effect that equation differently than opacity? I don't know, but the fact is it does. So let's switch over to the third image that I have open, Hard Light comp another image that we've seen before. Currently the Sunlight layer is set to Hard Light. Let's go and switch out the mode to something different so I can demonstrate how Opacity and Fill Opacity produce pretty darn different effects.

So I'm going to change a Blend mode that's assigned to that Sunlight layer to Color Burn for the moment, because that's the first of the Fill Opacity 8. Then I'll press the Escape key here in the PC so that Blend mode is no longer active, and I'll press the 5 key to reduce the Opacity value to 50%. Now let's go ahead and save that off as a layer comp. So I'll bring up my layer Comps panel, I'll click on a little Page icon, there inside the New layer Comp dialog box I'll name this layer Opacity blend like so and I'll make sure that Visibility and Appearance are turned on. Click OK.

Now let's switch it out. Let's switch out the behavior that is. So I'll press the 0 key to up the Opacity value back to 100%. I'll press Shift+5 to reduce the Fill value to 50%. Then I'm going to create a New layer Comp by clicking on the Page icon and I'll call this guy Fill blend make sure Visibility and Appearance are turned on and click OK. Now notice what happens when I switch back and forth. This is the lower opacity version of the effect and notice what's going on in her dress. These weird saturation values that are beginning to appear, they don't look naturalistic also we're losing saturation and other portions of the image.

Whereas when I switched to the Fill modification we get a much more robust effect. So even though we're tempering the effect with the use of an opacity value, Photoshop is doing a much better job with the blend and that's the case with all of the Fill Opacity 8. Fill does better. So you want to try the Fill value in the case of every single one of those blend modes. Let's try another one just so you can see the effect here. I'll go ahead and click in front of Opacity blend inside the layer Comps panel and I'll press Shift+ in order to advance the Linear Burn.

So this is Linear Burn set to an Opacity value 50%. I'll update that guy by clicking on the Update icon. Then I'll drop down here to Fill blend, click in front of it, press Shift+ to once again advance to Linear Burn, but this time the Fill value is set to 50% update that guy so that we can switch back and forth. So this is the 50% opacity version of Linear Burn and this is the 50% Fill version of Linear Burn. We don't necessarily have to see every single one of these Fill Opacity.

But I do want to show you most of them. I'm going to switch back to Opacity blend again. Let's see the most prominent of the lighting effects that is the Linear Dodge. So I'll go ahead and press Shift+Alt+W or Shift+Option+W on the Mac in order to combine Linear Dodge with 50% opacity. I'll update that layer Comp by clicking on this Update icon. Then I'll click in front of Fill blend, press Shift+Alt+W again in order to see the Fill version of Linear Dodge right there. Go ahead and update that layer Comp and now let's switch back and forth between them. This is a lower opacity version of Linear Dodge and notice the saturation values is just dropping out like crazy and we're getting these harsh transitions often times inside of the model's face.

Now if I switch to the Fill version of the blend, we get much better saturation values. We still have some very hot areas. Notice that, we're not losing the hotness in other words that staring into the Sun effect, those specular highlights still survive even at a lower Fill Opacity value. So it's a much more successful effect all the way around. In the next exercise I'm going to show you how Fill Opacity effects the contrast in the Inversion modes specifically the wonders that you can pull off using Hard Mix.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43598 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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